當代藝術演進 首重中國底韻（1）

當代藝術演進 首重中國底韻（1）

「大江東去，浪淘盡、千古風流人物……江山如畫，一時多少豪傑。」翻開中國現當代油畫演進史，的確就像北宋大文豪蘇軾筆下「念奴嬌」詞句、如同東漢末年三國的豪傑般，每位藝術家、每項留傳後世的作品，都值得我們一再懷念回味。

"The Yangtze flows east,

Washing away

Generations of great men...

Picturesque rivers and mountains,

Heroes and heroes passed before them, once... "  

Poem by Su Shi of the Northern Song Dynasty

As we look at the progress and history of modern and contemporary Chinese Oil Painting, the words of poet Su Shi as he recalled the heroes of the late Eastern Han Dynasty (Three Kingdoms Period) come into mind. Each artist and his/her work that he/she left behind to future generations deserve our time and attention.

自一九一九年的五四運動過後，中國藝術家為更加精確的掌握歐洲的古典寫實主義技法，正式開啟了海外的大留學潮。在這樣的歐美留學浪潮中，巴黎美院順理成章的取代了東京美術學校，成為近代中國油畫家的重要搖籃。舉凡前輩藝術家如徐悲鴻、林風眠、潘玉良、吳大羽，顏文樑等人，即為中國第一批精確掌握歐洲學院派畫風歸國的「海歸派」，在帶回了歐洲現代繪畫風格後，也進一步推動了油畫在中國的多元化發展。

After the May Fourth Movement in 1919, Chinese artists attempted to better and more precisely master the techniques employed in European Classical Realism. This caused a wave of overseas studying. Most Chinese painters would rather study in Europe or America than in Japan. Chinese returning artists such as Xu Beihong, Lin Fengmian, Pan Yuliang, Wu Dayu and Yan Wenliang used modern European painting styles in their works. They in turn promoted the diversification of oil painting in China. 

中國當代藝術的啟蒙—留法海歸派

ENLIGHTENMENT OF CHINESE CONTEMPORARY ART- FRANCE RETURNING CHINESE ARTIST

在留法回國之後，林風眠為使得「平民藝術」的理念得以廣為發展，創辦了杭州國立藝術院。其淡化了筆墨觀念、講就「中西調合」，創出屬於自己圖騰，試圖用西方現代藝術切入中國繪畫的概念，則成為了他最重要的藝術語言。這樣 前衛的思想與作為，也直接的影響了他的學生，如杭州三傑—趙無極、朱德群，吳冠中，三者均在而後的藝術史上闖出不小的成就。

After returning from France, Lin Fengmian widely promoted "the civilian art" concept. He also founded the Hangzhou National Arts College. In order to lessen the notion of Chinese Ink Wash Painting, he emphasized on "East meets West style", creating his own unique art. His style is characterized by the employment of Modern Western Art into Chinese painting. His avant-garde beliefs and behaviors directly influenced his students such as Zao Wou Ki, Chu Teh Chun and Wu Guan Zhong. The three of them claimed notable achievements later on.

時海歸畫派呈現「西風東漸」的寫實主義氛圍，但在中國文化博大精深烙印的包袱下，毛筆與類東方的水墨線條，往往成為藝術家既無法違抗的陳腐與傳統，舉凡常玉，與徐悲鴻均為大時代下的代表性人物。其受到中國傳統審美觀念修整的西式油畫（即現實主義的寫實技法與中國傳統山水勾勒筆觸相融合），也普遍成為當時中國畫家不能跨越的鴻溝，促使他們化身為歐洲古典寫實主義的殉道者（後人看來此成為他們無可取代的重要特色與地位）。但無論如何，第一代海歸派的確在西畫向中土移植上，有著劃時代般的貢獻。

As returnee artists presented their new European Classical Realism style to China, it was difficult for people to accept it since the viewers were accustomed to the traditional Chinese style. Oriental Ink and Brush style in the name of great Chinese culture became a huge burden to overcome. That was why artists like Xu Beihong combined European style with Chinese style to bridge the gap between the differing cultures to suit Chinese aesthetic norms. The first generation returnees were martyrs, and their introduction of European Classical style to Chinese land marked a great contribution in Chinese art history.